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Lot 31 Peter Robinson Fish & Chips Estimate $20,000 - $30,000 Lot 29 Peter Robinson Boy Am I Scarred Eh ! Estimate $60,000 - $80,000 Lot 30 Peter Robinson Our Place Estimate $30,000 - $40,000



Tuesday 20 Nov 5:30pm – 7:30pm

Please join us to view the suite of sales and enjoy refreshments thanks to Peregrine Wines, Toto's Restaurant and Antipodes. VIEWING Tues 20 Nov

5:30pm – 7:30pm

Wed 21 Nov

9:00am – 5:30pm

Thurs 22 Nov

9:00am – 5:30pm

Fri 23 Nov

9:00am – 5:30pm

Sat 24 Nov

11:00am – 3:00pm

Sun 25 Nov

11:00am – 3:00pm

Mon 26 Nov

9:00am – 5:30pm

Tues 27 Nov

9:00am – 5:30pm

Wed 28 Nov

Lot 54 Max Gimblett Transcending The Dust Of The World - After Shih Tao! Estimate $70,000 - $90,000

9:00am – 12:00noon

New Zealand’s Premier Auction House 18 Manukau Road PO Box 99 251 Newmarket, Auckland 1149 New Zealand P +649 524 6804 F +649 524 7048

INTRODUCTION Webb’s is pleased to introduce the final catalogue of

Parata Te Kakakura on Te Moana Road, Waikanae, in

Important Paintings and Contemporary Art for 2012.

1877 (the building was later moved to Elizabeth Street,

Following a year of strong results, the art market has

Waikanae, in 1898), and the second is an untitled rural

once again stood in stark contrast to weak global

landscape which exhibits the sharp line and warm,

economic indicators. Our mid-year sale of Important

tonal modelling that was central to Angus’ practice and

Paintings and Contemporary art alone, achieved multiple

had a great influence on the development of modernist

new records for a number of private vendors. In addition

painting in New Zealand.

to a firm top tier, Webb’s has experienced a significant

In addition to these two works, we are once again

shift in our A2 or second-tier sale category which

pleased to be presenting a very fine, major work

focuses on works that hold values of between $1,000

by Robin White. The watercolour is entitled White

and $20,000.

Oystercatcher and is prominently illustrated in Alister

This catalogue of Important Paintings and Contemporary

Taylor’s monograph on the artist. As the title suggests,

Art presents a refined offering of artworks by major

it pictures a white oystercatcher, standing in front of

modernist and historical practitioners accompanied by

Dunedin’s Harbour Cone. Further, major works by Ralph

rare and in-demand contemporary practice. Included

Hotere and Colin McCahon are included. Highlights

in this sale is a number of works by Peter Robinson

by these two artists include Hotere’s Black Window –

from his highly regarded 1990s period; these include

Alumin Politik, which is perhaps the finest work from

a large-scale work which bares his iconic phrase Boy

the Black Window series ever to be offered to the

Am I Scarred Eh!, a reference to McCahon, and a

market, and Colin McCahon’s Landscape Theme and

work which pictures a prominent left-facing swastika

Variations (G) which is a major painting from the body

accompanied by the phrase Our Place. Rather than

of work made after his research trip to America in 1958.

being a symbol for white-nationalist sentiment, the left-

An important historical offering is constituted by the

facing swastika was the graphical representation for the

inclusion of a notable early portrait by Charles Goldie

concept of eternity used by ancient Buddhists. As well

depicting Chief Pokai of the Ngati Maru iwi. The sitter,

as these works by Robinson, a number of other works

Hori Pokai, was painted by Goldie a number of times

that survey current painting and photographic practice

during his career after a visit by the artist to Thames in

are on offer including works by Bill Hammond, Julian

1905. Notably, he is a descendant of the survivors of

Dashper, Shane Cotton, Laurence Aberhart, Ben Cauchi,

Hongi Hika’s attack on the Te Totara pa in 1821.

Saskia Leek, Dick Frizzell, Peter Stichbury, Michael

Looking forward, we are currently seeking

Parekowhai, Sarah Hughes, Derek Henderson and Tony

consignments for our first two sales of 2013. Our

De Lautour among others.

next sale of Important Paintings and Contemporary

This sale will offer a number of significant and rarely

Art will be held in late March 2013 and our next

available modern paintings. It has been almost 10 years

A2 or second-tier sale will be held on 26 February

since a major landscape painting by Rita Angus has

2013 (entries for this sale will close on 21 December

been made available to the auction market; however,

2012). We welcome you to make contact for a free,

this sale will include two such works by the artist. The

no-obligation appraisal of any works that you may be

first is St Luke’s Church, Waikanae, which, as the title

considering consigning to auction.

suggests, depicts the historic wooden church originally built by paramount chief and member of parliament Wi



Lot 23 – Robin White White Oystercatcher Estimate $45,000 - $65,000



Important Paintings & Contemporary Art, July 2012 With a refined, focused offering of only 80 works and a sale total in excess of $1.2 million, the results achieved for our mid-year sale of important paintings and contemporary art demonstrate a strong and pervasive demand for rare and significant cultural assets. A large-scale work by Bill Hammond, which was painted on a folding kauri altarpiece and entitled At the Flood exceeded pre-sale expectations, achieving $228,750. The work was met with a high level of competition from contending bidders and the result reaffirms the pre-eminent and

Tony Fomison - The Veil of Saint Veronica. Achieved $42,900 Charles F.Goldie - No Koora te Cigaretti. Achieved $337,421 Bill Hammond - At the Flood. Achieved $228,750 Robin White - Porirua Harbour I. Achieved $125,800 Ralph Hotere - Black Painting. Achieved $75,000 Colin McCahon - Truth from the King Country, Load Bearing Structures 4. Achieved $45,000


enduring significance of Hammond as a senior contemporary artist within New Zealand’s cultural landscape. A record price was achieved with the sale of Charles F. Goldie’s early portrait of Mihipeka Wairama of the Tuhorangi iwi, entitled No Koora te Cigaretti. Strong competition saw this work achieve the staggering figure of $337,421, which is the highest price ever paid for a female portrait by Goldie. The sitter was a survivor of the Tarawera eruption and this exemplary result is indicative of collectors' increasing focus towards

artworks of superior historical significance. Painted in 1970, Robin White's Porirua Harbour 1 achieved the exemplary price of $125,800. Paintings by Robin White are exceedingly rare and, at the time at which this work was offered, Porirua Harbour 1 was the first major work by the artist to be made available to the buying public in almost a decade. Webb’s facilitated the sale of this work on behalf of the estate of the late artists Peter Siddell and his wife Sylvia Siddell, who had owned the painting for over 30 years.

Measuring just 19cm x 14cm, Tony Fomison’s The Veil of Saint Veronica – After an Old Engraving of a Relic at the Vatican significantly exceeded pre-sale estimates, achieving the staggering figure of $42,900. By price-to-volume ratio, this is the highest value that has ever been achieved for a painting by Tony Fomison at auction. Looking forward, we are currently seeking entries for our next sale of Important Paintings and Contemporary Art which is to be held in March 2013. Please contact Sophie Coupland to discuss consignment.

Contact Sophie Coupland E: M: 021 510 876 DDI: 09 529 5603


HighlightS - AUGUST & SEPTEMBER SALES A2 Art, Fine Jewellery, Interiors & Decorative Arts










A - A WMF Art Nouveau Silver Plate Plaque. Achieved $2,400 B - Ralph Hotere. Treaty of Waitangi. Achieved $24,000 C - Peter Stichbury. Untitled Girl in a Coat. Achieved $4,600 D - Seraphine Pick. For a Moment. Achieved $7,000 E - Peata Larkin. Tarawera No.1. Achieved $9,100 F - Colin McCahon. North Otago. Achieved $7,300 G - Gordon Walters. Maho. Achieved $6,600



H - Don Binney. Te Henga. Achieved $6,500 I - Pat Hanly. Life Again. Achieved $5,300 J - Richard Killeen. Wish You Were Here. Achieved $7,900 K - Allen Maddox. Imaculate. Achieved $5,800.00 L - A German Tin-plate Bluebird Toy Car. Achieved $2,800 M - A Daum Nancy Autumn Landscape Vase. Achieved $6,500











N - Fiona Pardington. Huia Lovers. Achieved $7,300 O - A Royal Doulton Baluster Vase. Achieved $4,900 P - A Ralph Lauren Leather Armchair. Achieved $5,800 Q - Milan Mrkusich. From the Elements Series. Achieved $8,600 R - Nigel Brown. Damaged Landscape 3. Achieved $11,100 S - Emerald and Diamond Ring, 19.38ct. Achieved $82,000 T - Necklace, 9.98ct Emerald and Diamonds of total weight 16.27ct. Achieved $63,000


U - Karl Maughan.Garden Study. Achieved $18,800 V - A Pair of Chinese Blanc de Chine Guanyin Figures. Achieved $5,200 W - A FabergĂŠ Lapis Lazuli and Yellow Gold Box. Achieved $87,800 X - Laurence Aberhart. Angel Statue. Achieved $4,500 Y - A Pair of Georgian Silver EntrĂŠe Dishes. Achieved $3,700 Z - A European Rosewood Inlaid Table. Achieved $14,000 All prices include buyer's premium.



christchurch FINE ART SPECIALIST Webb’s is pleased to welcome Gillie Deans as a fine art specialist providing services spanning historical, modernist and contemporary art practice to Christchurch, Canterbury and South Island collectors. With over 30 years' experience within the visual arts community, Gillie will supply comprehensive services including current market and insurance valuations, conservation and advice around the purchase and sale of artworks by auction or private treaty.

Christchurch Contact Fine Art Specialist Gillie Deans E: P: 027 226 9785

WELLiNGTON FINE ART SPECIALIST With the recent appointment of Carey Young as Webb’s resident Wellington specialist, a number of significant consignments have been made to this catalogue by Wellington based collectors. Webb’s would like to thank those who have put works forward through Carey. With over a decade of experience with a leading dealer gallery, Carey is available to undertake current market appraisals, and offer commentary on market trends and valuations for insurance and other purposes. Works are also available privately to Wellington clients, outside of the auction calendar.

WELLINGTON Contact Fine Art Specialist Carey Young E: P: 021 368 348


HighlightS - Oceanic & African Art consign now - march 2013

In 2009, Webb’s joined forces with leading Oceanic art specialist Jeff Hobbs, transforming its position within the market for Maori, Pacific and African artefacts. With a remit to elevate Maori and Oceanic Art as a field of collecting and to establish a landmark campaign to repatriate Maori taonga and Oceanic artefacts to New Zealand, Webb’s has quickly established itself as an industry leader, holding spectacular sales, and setting new benchmarks of value across the genre. Webb’s Oceanic Art Department has established its reputation with the sale of the some of the most culturally important Maori taonga from collections nationally and, more notably, internationally. Against a perception that the international market for Maori taonga will out-pay local collectors, Webb’s has repatriated several collections of national significance and reset the view of collectors. Webb’s facilitated over $1.4million in tribal art sales over 2012 and the September auction achieved a staggering 157% sale rate by value against reserves. Entries are now invited for a forthcoming summer sale of Oceanic and African Arts to be held in March 2013. Contact Jeff Hobbs –, 021 503 251. 1





4 3 8



1 2 3 4 5 6 7 12

– – – – – – –


Historic Mere Pounamu. Achieved $146,600 Early Poutokomanawa. Achieved $27,000 Rare and Superb Fijian War Club. Achieved $32,700 Kotiate. Achieved $25,800 Heru (Comb). Achieved $2,200 Whalebone Rei Puta, The Ryman Collection. Achieved $140,300 Rare Moa Bone Harpoon Head. Achieved $9,600



8 – Ashanti Royal Lion. Achieved $22,300 9 – Matau - Fishing Hook. Achieved $10,900 10 – Tahitian Shark Hook. Achieved $16,400 11 – Large Matau – Fishing Hook. Achieved $5,600 12 – Matau – Fishing Hook. Achieved $5,500 13 – Large Matau – Fishing Hook. Achieved $5,600 14 – Chiefly Taiaha. Achieved $22,900



16 18


20 19




24 15 16 17 18 19 20

– – – – – –

William Seuffert Writing Compendium. Achieved $45,700 Rare Tongan Whalebone Chest Ornament. Achieved $23,400 Prestigious Kahu Kiwi – A King’s Cloak. Achieved $79,700 Maori Canoe Bailer. Achieved $20,000 Large Tackle Box. Achieved $3,000 Waka Huia attributed to Jacob William Heberley. Achieved $32,700


25 21 22 23 24 25 26

– – – – – –

Kahu Hurururu Prestigious Feather Cloak. Achieved $46,900 Rare Tongan Club. Achieved $12,900 Dogon Mask. Achieved $24,600 Prestigious Mere Pounamu in the name of Tinirau. Achieved $51,600 Pair of Cased Huia and Kiwi. Achieved $25,800 Finely Carved Hoe. Achieved $19,900


Available for inspection by appointment Contact Sophie Coupland E: M: 021 510 876 P: 09 529 5603

Paul Hartigan The Phantom enamel on board signed Paul Hartigan, dated 1973 and inscribed “The Phantom” in graphite verso 1830mm x 1220mm


Exhibited: The Cartoon Show, Auckland Art Gallery 15 Dec 2001 – 1 April 2002. Elam Centenary Exhibition, Auckland Institute and Museum, Auckland, 1990. Illustrated: Michael Dunn, New Zealand Painting: A Concise History, Auckland University Press, 2003, p.174.

tuesday 26 FEBrUARY 2013 Consign Now


Entries are now invited for the first A2 sale of 2013, to be held on Tuesday 26 February. This sale will present the market with a quality offering of artworks that hold values of between $1,000 and $20,000. There has been a significant rise in this area of the market, with a staggering 74% increase when the combined sales totals from 2012 are compared with those of the previous year. Our final A2 sale of 2012 alone achieved in excess of $570,000: a new record for this category of sale. Please contact Charles Ninow for a no-obligation appraisal.

Contact Charles Ninow E: P: 09 524 6804

Tony De Lautour Sample screen print with hand-painted acrylic on stretched canvas, 6/10 title inscribed on plate, signed and dated 2007 620mm x 775mm $1,800 - $2,500

Modern Design

APRIL 2013 COME FLY WITH ME The American Collection 1950s & 60s It was the ‘Jet Age’: a burgeoning period of optimism, technological advances and social change. Television offered an eye to worlds previously unknown – showcasing the beating pulse of style from New York to Palm Springs. It was the life of Frank Sinatra that now any American with good taste could create, as long as they had the right sofa. Designers were quick to embrace the American desire for the ‘good life’. Glamorous new materials were underpinned by traditional modernist ideals of form and function. The result was some of the most iconic designs of the mid-century and proof that good design wasn’t just a Hollywood dream; good design was for everyone. Mr. Bigglesworthy presents The American Collection: a suite of mid-century designs with enough style to tempt the Mr. Sinatras and enough functionality for everyday living. Among some of these coveted, original pieces are designs by Charles and Ray Eames, Harry Bertoia, Warren Platner, George Nelson and Florence Knoll. Prepare for lift off!

Contact Josh Williams E: P: 09 524 6804


9236 Art + Object advert PRINT.indd 1

21/10/10 4:06 PM


Consign Now

Entries are now invited for a flagship sale of photography to be held in 2013. In recent years, photographic practice has drawn an increased level of engagement from collectors and this sale will present the market with a focused offering of notable contemporary and historical photographs. Please make contact to discuss consignment to this specialist sale.

Contact Art Department Charles Ninow E: P: 09 524 6804

Fiona Pardington Taranaki Heitiki with Mussel Shell Eyes, Okains Bay Maori & Colonial Museum gelatin silver archival hand print 3/5 title inscribed and dated 2002 on label affixed verso Provenance: This image is included in the suite of Heitiki photographs gifted to the MusĂŠe du Quai Branly, Paris, by the New Zealand Government. 570mm x 450mm Realised: $10,000

CLASSIC MOTORCYCLES AND CARS OF THE DAY CONSIGN NOW FEBrUARY 2013 Featuring over 50 exquisite vintage motorcycles, Webb’s summer sale will once again be a highlight event for collectors in this field. The sale has already attracted the attention of local and international collectors. Included for the first time is a range of rare industrial design toys from the late 19th and 20th century. The auction features the following: 1921 Harley-Davidson Model J 1938 Triumph T100 1969 BMW R69s 1954 Vincent Series D Rapide 1965 Rickman Matisse Mark III 1968 Triumph Bonnieville T 120 1968 BSA GoldStar Catalene 1972 BSA B50 MX 1969 BSA 441 Victor Special 1968 BSA Firebird Scrambler 1960 Harley-Davidson Panhead 1977 Harley-Davidson XLCR

1948 Triumph T3 De Luxe 1951 Indian Chief 1950 Velocette MAC 1969 Triumph Trophy TR6C 1958 BMW R50 1965 Ducati Scrambler 1946 Indian Chief with sidecar 1970 Norton P11 – Ranger 1972 Triumph Trident  1964 Triumph Trophy TR6C 1947 Harley-Davidson Knuckle 1936 Velocette 500

CONTACT Neil Campbell E: P: +64 21 875 966

Rob North Special Suzuki LT 500 Championship winner - 1973 Estimate $15,000 - $25,000

When you enjoy a bottle of Peregrine or Saddleback you not only experience a taste of Central Otago, you also directly contribute towards the survival and recovery of our New Zealand’s endemic Falcons and Saddlebacks. Peregrine is a major sponsor of both the New Zealand Wingspan Trust and the Fiordland Conservation Trust, who are fully committed to the protection and survival of these rare and unique birds. We think this is something worth savouring. To order our wines and to find out more information on these projects – visit our website or call into our cellar door. Peregrine Wines, Kawarau Gorge Rd, Gibbston, Queenstown

New Zealand Studio Ceramics

Monday 26 November 6.30pm A survey of historical works alongside contemporary practice by New Zealand’s most well-known studio potters including Barry Brickell, Len Castle, Mirek Smisek, Graeme Storm, Richard Parker, Bronwynne Cornish, Helen Mason and Yvonne Rust. Evening preview Tuesday 20 November 5:30pm - 7:30pm and viewing daily till sale day. All lots illustrated online at Entries are invited for the next auction in this category of sale to be held mid-2013. Contact Brian Wood to discuss pieces for consignment.

Contact Brian Wood E: P: 09 529 5609

Len Castle Red Crater Lake Bowl H120mm x Dia440mm Estimate $3,000 - $5,000

1 Laurence Aberhart Moreporks (Bird Skins Room #2), Taranaki St, Wellington gelatin silver print signed L. Aberhart, dated 1995/2000/6 and inscribed Moreporks, Taranaki St, Wellington, 3 October 1995 in ink lower edge 214mm x 263mm illustrated Aberhart, Laurence. Aberhart Victoria University Press: Wellington, 2007, plate 137. Estimate $3,000 - $5,000 2 Ben Cauchi Studio Aid ambrotype print signed Ben Cauchi, dated 2004 and inscribed ‘Studio aid’, ambrotype in ink on backing board verso 390mm x 340mm Estimate $3,000 - $4,000 3 Tony de Lautour Cameos oil on canvas signed Tony de Lautour and inscribed Cameos in brushpoint upper edge 705mm x 490mm Estimate $4,000 - $6,000


6 Andrew McLeod 4 Derek Henderson Te Rama Marai c type print, 2/15 signed D.H., dated 2005 and inscribed 2/15 in ink lower right verso 550mm x 710mm Estimate $1,500 - $2,500 5 Gavin Hurley Dotty and Rita cloth from found book covers collaged on to archival paper 360mm x 480mm Estimate $1,500 - $2,500

Untitled oil on two stretched canvases signed A. McLeod and dated 2010 in pencil lower left of left canvas 76mm x 60mm each REFERENCE Included are two staple bound artist's publications by Andrew McLeod: Christian Brutalist Times and shhhhh shhhhh shhh shhhh shangri-la, (signed and edititoned 14/300) Estimate $2,500 - $3,500

7 Saskia Leek Hello Goodbye oil on board signed S. Leek and dated 2006 in ink and inscribed Hello Goodbye in pencil lower right verso; Hamish McKay Gallery, stamp applied lower left verso 200mm x 290mm Estimate $2,000 - $3,000


8 John Reynolds Untitled (Light Bulb) oilstick on paper 700mm x 500mm Estimate $2,500 - $3,500

9 John Reynolds No Time Wasters oilstick on paper 700mm x 500mm Estimate $2,500 - $3,500

10 John Reynolds You’ve Got Three Minutes oilstick on paper 700mm x 500mm Estimate $2,500 - $3,500


11 Julian Dashper Untitled, 1997 vinyl on drumhead mounted in drum shell, edition of 2 580mm x 580mm x 230mm Estimate $17,000 - $25,000


12 Seraphine Pick Limen oil on stretched linen signed S. Pick and dated 2009 in brushpoint lower right 1010mm x 1010mm REFERENCE Commissioned by VAANA, for stage 3 of the anti-nuclear mural on Karangahape Road's reservoir wall, Auckland. A digitally reproduced image of this work currently hangs at this location.


EXHIBITED VAANA: Visual Artists Against Nuclear Arms, John Leech Gallery, Auckland, 3 - 13 March 2009. ILLUSTRATED Ensing, Riemke. “A Pacific Phoenix: The VAANA Peace Mural”, Art New Zealand No. 131, Winter 2009, p.27. Estimate $18,000 - $25,000

13 Allen Maddox Is This Pop oil on canvas signed Maddox, dated ‘98 and inscribed Is This Pop in brushpoint verso 920mm x 920mm Estimate $12,000 - $18,000


14 Max Gimblett Copper Christ gesso, metalic pigments and resin on canvas signed © Max Gimblett, dated 1991/92 and inscribed “Copper Christ” X, New York/Los Angeles in ink verso 760mm x 760mm ILLUSTRATED Curnow, Wystan & John Yau. Max Gimblett, Craig Potton Publishing in association with Gow Langsford Gallery, Auckland: 2002 p. 134. Estimate $16,000 - $20,000 15 Laurence Aberhart Taranaki (Afterglow into the Night) 19 November, 2002 gelatin silver print signed Laurence Aberhart and inscribed Taranaki (Afterglow into the Night) 19 November, 2002 in ink lower edge 190mm x 240mm Estimate $4,500 - $6,500


16 Colin McCahon Van Gogh-Poems by John Caselberg five lithographs, comprising of a frontispiece and four pages of verse inscribed Van Gogh - Poems by John Caselberg, lithographs by Colin McCahon, Auckland, September 1957 on the plate 357mm x 251mm each REFERENCE Another suite from the edition is illustrated in Simpson, Peter. Answering Hark, Craig Potton Publishing, Nelson 2001, p. 52. Estimate $18,000 - $24,000


18 Sara Hughes 17 Michael Parekowhai screenprinted acrylic and fluorescent light in powdercoated aluminium casing 1310mm x 220mm

translucent vinyl on acrylic and fluorescent light in powdercoated aluminium casing signed Sara Hughes, dated 2003 - 04 and inscribed ‘Software’, Translucent vinyl lightbox in ink verso 1180mm x 1180mm x 60mm

Estimate $7,000 - $9,000

Estimate $6,500 - $8,500

The Bosom of Abraham




Andy Warhol Mick Jagger - FS - II - 138 screenprint on paper, 1975 signed Andy Warhol in pencil lower right, signed Mick Jagger in ink lower left and inscribed 125/250 in graphite lower left 1105mm x 740mm

Printer: Alexander Heinrici, New York, USA. Publisher: Seabird editions, London, UK. Provenance Purchased by the current owner from Art Cellar Exchange. San Diego, USA, 2004 Estimate $40,000 - $50,000



20 Robin White White Oystercatcher watercolour on paper signed R.White, dated ‘77 and inscribed White Oystercatcher in brushpoint lower edge 560mm x 315mm EXHIBITED Peter McLeavey Gallery, Wellington, July 1977, wall price $600 ILLUSTRATED Taylor, Alister. Robin White: New Zealand Painter, Alister Taylor: Martinborough, 1981, p.56. Estimate $45,000 - $65,000

Robin White’s beautifully rendered watercolour on paper, White Oystercatcher (1977), captures the essence of time and place in the secluded surrounds of her studio in Portobello, Dunedin. Featuring a central, lone bird, set against a backdrop of undulating hills, bush and sky forms, broken only in part by the linear shoreline and shed on the crest of the hilltop, the work is intrinsically characteristic of White’s style, born out of the nationalist genre of New Zealand painting in the 1930s. The fine lines, subtle tonality, precision and flatness of form, reveal the ease with which White moves between mediums, from screen-printing to paint and watercolour. Her exquisitely articulated forms echo the stylistic concerns of her predecessors, Rita Angus and Don Binney, whilst also revealing influences of her formalist training at Elam – an understanding of discipline, structure and balance from Italian Renaissance painters, Giotto and Duccio, and the Flemish master van der Weyden. Her paintings also impart a spiritual consciousness, instilled in her by her tutor, Colin McCahon. In the artist’s own words: “At Portobello I’ve done very many paintings of Harbour Cone – it’s like an icon in the landscape and seems to take on a sort of spiritual significance… I suppose when I’m contemplating this land, I get the same sense of reverence for this creation and I’m conscious of what I feel to be the Creator’s hand. The beauty of it all, the infinite variety, what a miracle it is! These are the things which really move me, and I hope some of that respect for the land comes through in my paintings.”


White’s paintings permeate a sense of ‘New Zealandness’, intent on preserving the local; however, her works of this period also sit within the wider canon of art history. The painting of her mother, Florence and Harbour Cone (1974), set against the familiar backdrop, calls to mind Grant Wood’s seminal painting, American Gothic (1930), and the poster-like quality of her flattened forms and everyday symbols respond to the distant retort of the American Pop Art movement. In A Buzzy Bee for Siulolovao (1977), White’s central ‘native’ motif is replaced with an iconic toy: celebrating the kitsch and casting a domestic parody over earlier ornithological preoccupations. As White painted the reality of her situation rather than actively seeking picturesque landscapes, her subjects reveal a utilitarian relationship with nature: a common truth, without hidden references or political undertones. In this feminist-inflected period of the 1970s and ’80s, it is unsurprising that the hills outside her studio window take on a maternal affection, conjuring metaphors of the hill as breast and the land as mother, nurturing a solitary figure in the foreground. Indeed, the local vernacular for the hill which she repeatedly depicts, is ‘Tit Hill’, insinuating a nipple outlined by the dark scrub on the cone’s tip. Yet, the lucidity of forms, vivid colour and light translated through paint speak their own language, defining the power of the unyielding land. EMILY GARDENER


21 Robin White Maketu Fish Shop graphite on paper signed Robin White and dated Dec. 1973 in graphite upper right 230mm x 315mm REFERENCE An oil painting of the same title and subject, dated 1974, is held in the collection of Auckland Art Gallery, Toi o Tamaki. EXHIBITED Peter Mcleavey Gallery, Wellington, 1975, wall price $150. ILLUSTRATED Taylor Alister. Robin White: New Zealand Painter, Alister Taylor: Martinborough 1980, p.100. Estimate $15,000 - $18,000


22 Dick Frizzell River Bend oil on stretched linen signed Frizzell, dated 01/02/03 and inscribed River Bend in brushpoint lower right 1350mm x 1050mm Estimate $30,000 - $40,000


23 Shane Cotton Veil acrylic on stretched linen signed S. Cotton, dated 2008 and inscribed Veil in brushpoint lower right; Hamish McKay Gallery stamp applied to stretcher verso 1410mm x 1000mm EXHIBITED Shane Cotton - New Painting, Hamish Mckay Gallery, Wellington, 2008. Estimate $35,000 - $45,000



Peter Stichbury Glister giclee print, 23/100 signed P.Stichbury and dated ‘08 in graphite lower edge 295mm x 260mm Estimate $3,500 - $5,000


Peter Stichbury Glister with Skin Condition hand painted acrylic on giclee print, 1/1 signed Stichbury, dated 08 and inscribed ‘Glister with Skin Condition’ in graphite lower edge 270mm x 210mm Estimate $3,500 -$4,500

26 John Ward Knox Untitled - Study Of Hands oil on stretched calico signed John Ward Knox and dated 2010 in pencil upper edge verso 500mm x 300mm Estimate $2,000 - $3,000


27 Colin McCahon Jump synthetic polymer paint on unstretched jute canvas, 1974 inscribed Jump. in brushpoint lower left 210mm x 219mm REFERENCE Colin McCahon database reference cm000909 Estimate $40,000 - $60,000

Colin McCahon’s Jump series, painted between 1973 and 1974, found its origin in the conceptual and technical developments of his earlier Necessary Protection works, painted between 1970 and 1972. The Necessary Protection series was heavily influenced by the wind-beaten landscape of Auckland’s west coast and, accordingly, this body of work uses the two cliff forms, one on either side of Muriwai Beach, as a central motif. Like the right-angled block of colour that is the dominant focal point of Jump, the Necessary Protection works reduced the cliff forms to stark, abstracted representations which allowed the images to adopt metaphorical significance in addition to their literal meanings. In these works, the negative space left by the two solid blocks of colour on either side resulted in a lightly coloured tau shape. Appearing like a small section of a crucifix imposed onto the landscape, McCahon’s tau carried epistemological significance. Logically, the tau’s horizontal line – the sky area – was intended as a celestial endowment, whereas the vertical bar, which flowed through the land mass, could be read to signify man’s path through the physical world. In Jump, we are presented with a land mass dislocated from any known context: black, unnamed matter extended up into free, open space. What McCahon has painted here is a landscape without the landscape; the scene is a dystopia. It is beguiling and confusing and yet it shows McCahon at his simple best. Stripped of everything that an audience in New Zealand, during the 1970s, might have expected from a landscape painting – lush vegetation, blue skies and crystalline expanses of water – the work issues


the viewer with only the directive: “Jump”. Together with a path scribed by a broken line, the phrase prompts the viewer to think about how their newfound environment might be navigated. Coupled with the cold and unfeeling aesthetic of its surroundings, the phrase calls to mind the rite of passage that every baby bird must undertake: the moment when it is pushed from its nest and must either fly or plummet to the ground. In order to deduce meaning from Jump, it makes sense to look towards the conventions that were established by McCahon’s Necessary Protection series. Indeed, many of the works made in the latter part of his career used these conventions as a foundation. While McCahon was a Christian and did use Christian signifiers, his practice was not concerned with the politics of any particular religious denomination. Moreover, by this stage in his practice, he was intently focused on whether or not a higher power actually existed. The works painted during this period expose the artist in both times of belief and moments of doubt. However, Jump does neither. In this work, McCahon presents the physical world as a dead end of sorts. He encourages the viewer to throw themselves into the existential unknown but he makes no promises about what the result might be. In the words of McCahon’s biographer Gordon H. Brown, “The Jump series has to do with the unpredictability of life, with the freedom to choose between security and the uncertainty of taking chances”.1 CHARLES NINOW 1. Brown, Gordon H Colin McCahon: Artist, reed, Auckland, 1993, p174.


28 Pat Hanly Dancer Before Gentleman - Showgirl Series oil on canvas signed P. Hanly, dated ‘61 and inscribed To Ted Bolton in brushpoint lower left; inscribed Dancer Before Gentleman, P. Hanly, Show Girls Series, 1961, London on original Comedy Gallery label affixed verso 840mm x 650mm EXHIBITED Comedy Gallery, London, UK, 1961 Estimate $55,000 - $75,000

Pat Hanly’s Dancer Before Gentleman belongs to a relatively small series of works – referred to as the Showgirl series – which the artist made during his time spent in London during the late 1950s, shortly after he left art school. Here he found work as an assistant stage manager at a ‘strip club’1 called the Gargoyle, working “backstage doing set changes and curtain”.2 His Showgirl series, which focused on women in various states of undress, clearly found its origins in the long night hours that Hanly spent at the club. It was this series of works that first saw Hanly engage with flat, reduced space and cubist abstraction and, most importantly, these were the first works in which he depicted the female body in a manner that was imperfect and imbalanced. Dancer Before Gentleman shows a young Hanly unencumbered by social conscience, universal awareness and sexual liberalism. Far from the egalitarian ideals that would define his later career, Dancer Before Gentleman is a study into the fragility of the human condition. It is an exploration of the aesthetic and social dynamics of an age-old practice which Hanly does not seek to condemn and for which he does not offer a solution. The defining treatise of early, analytic cubism was concerned with the representation of reality: namely, the fact that the human eye did not see the physical world as a single, crisp frame but rather as a series of images that changed every time a viewer’s eye darted or the subject moved. While Dancer Before Gentleman clearly subscribes to a cubist methodology, it also sees Hanly seek to update the model. Rather than vigorously record every gymnastic feat in flowing detail, Hanly has chosen to record only those movements and gestures which left


the strongest lasting impression. Accordingly, in Dancer Before Gentleman, Hanly does not describe the dancer’s true physical form. Appearing as an angular, scaffoldlike apparition, she is described by an assemblage of memorable flashes of colour and bodily contortions. The method and manner in which Hanly has depicted the single, solitary audience member, who sits in the foreground, contrasts starkly with the folding ribbons of pigment, which describe the dancer. While he lacks a bowler hat and coat, he shares a distinct kinship with the faceless businessmen described in René Magritte’s surrealist painting Galconda of 1953. Just like the men described in Galconda, the viewer pictured in Hanly’s work is intended to serve as an armature of the capitalist economy: a member of the bourgeoisie enjoying the pleasures of a proletariat entertainer. As with his Figures in Light series, which would be commenced upon his return to New Zealand in the mid1960s, Dancer Before Gentleman sees Hanly immerse himself in the aesthetics of his setting; the smells, the red-and-blue stage lights and the sparkling shift of the dancer’s clothing can all be keenly felt. Just as the works made in the preceding years were an exploration of New Zealand’s wide-open spaces and hard, flat light, the Showgirl series was an innate reflection of Hanly’s time in London where economic realities granted him a view into a world that was otherwise completely foreign. CHARLES NINOW 1. Main, Stewart, dir. Pacific Ikon, James Wallace Productions, Auckland 1998. Film.

2. Haley, Russell. Hanly: A New Zealand Artist, Hodder & Stoughton, 1989, Auckland p.67


29 Peter Robinson Boy Am I Scarred Eh ! oilstick, acrylic and duct tape on cardboard, with cut out section in lower right quadrant signed Peter Robinson in graphite on label affixed verso 1540mm x 1110mm Estimate $60,000 - $80,000

In the last decade, Peter Robinson’s large-scale, fabricated installations have established him as one of New Zealand’s most senior practitioners. It was these later works, which reference geomorphic mass and molecular structure, with which he represented New Zealand at the Venice Biennale in 2001 and then won the Walters Prize in 2008. However, it is his early works from the 1990s that hold the most profound level of cultural significance. The works from this period generally engaged with popular ideological positions – the type of vitriol that might emerge from a particularly heated debate on ‘talkback’ radio – and continue to hold currency because of their ability to mirror contemporary political debate. Recently, a work from this period, featuring a prominent left-facing swastika, was given new significance when it was exhibited at Germany’s Frankfurter Kunstverein in a Creative New Zealand-funded survey of contemporary New Zealand art. The exhibition, entitled Contact, opened in October this year, more than a decade after the work was originally made. Boy Am I Scarred Eh! takes its choice of phrase from McCahon’s iconic painting of 1976 entitled Scared which featured the words Am I Scared Boy (Eh) inscribed across a dark, bleak field of sky. McCahon’s adoption of urban Maori vernacular, accented with the phrase ‘eh’, was intended to draw attention to a generation’s dislocation from its own cultural heritage and Robinson’s adoption of and amendments to the phrase – notably the change of the word scared to scarred – endow McCahon’s words with a somewhat prophetic quality. Robinson’s claim to a mixed European and Maori ancestry obviously lends him the authority to engage with the politics of the tangata whenua’s treatment under the governance of the Treaty of Waitangi; however, with a stated 3.125% Maori ethnicity, Robinson’s claim is intended to be perceived as somewhat tenuous. Rather than subscribe to a position that is simply


concerned with the rights of an indigenous people, Boy Am I Scarred Eh! seeks to address the potentially segregational nature of biculturalism. On the surface, Our Place (illustrated overleaf) presents the viewer with the opposing viewpoint to that inherent in Boy Am I Scarred Eh!. With its prominent use of a Swastika-like form coupled with the words ‘Our Place’, the work easily recalls the white-nationalist sentiment that is typically associated with Nazi Germany of the 1930s. However, the form drawn by Robinson was not a Nazi Swastika but rather, its vertical mirror image is a symbol used in ancient Tibet as the graphical representation of ‘eternity’. Once the viewer becomes aware of Robinson’s intervention, the four-armed, equilateral cross sheds much of its inflammatory power and the phrase ‘Our Place’ is allowed to take on an inclusive rather than an exclusive tone. The three works presented over the proceeding lots – Boy Am I Scarred Eh!, Our Place and Fish + Chips (illustrated overleaf) – are all lent further meaning by the artist’s adroit use of materials. Each work is executed on found corrugated cardboard using thick, gritty oil stick and, in each work, the ridges of corrugated substrate affect and enliven the way in which the image is drawn. This is especially so in the case of Boy Am I Scarred Eh!, where the dense swirling koru has a pulsating and almost hypnotic quality. The choice of material borrows heavily from the language of the political placard and, as such, the treatment manages to endow even the potentially flaccid statement presented by Fish + Chips with a protagonist thrust. The works intentionally play to the art world’s liberal disposition towards minority causes at the same time as mocking its hierarchies by calculatedly avoiding the canvas and easel. CHARLES NINOW


30 Peter Robinson Our Place oilstick, duct tape and acrylic on cardboard , signed Peter Robinson in graphite on label affixed verso 1090mm x 800mm Estimate $30,000 - $40,000


31 Peter Robinson Fish & Chips oilstick, duct acrylic and tap on cardboard signed Peter Robinson in graphite on label affixed verso 1110mm x 770mm Estimate $20,000 - $30,000


32 Colin McCahon North Otago I synthetic polymer paint on paper signed McCahon, dated Sept-Oct 1966 and inscribed North Otago I in brushpoint lower edge 780mm x 570mm REFERENCE Colin McCahon database reference cm001116 This work can relates to The Fourteen stations at the cross, 1966, collection of Auckland Art Gallery, Toi oTamaki. McCahon database reference cm000123. illustrated Illustrated: Bloem, mavja and Browne, Martin, Colin McCahon, A Question of Faith, Stedelijk museum Amsterdam and Craig Potton publishing, 2002, pp 98 - 99. Estimate $80,000 - $100,000

Standing in front of Colin McCahon’s North Otago I, we are firmly treading on the terrain of ‘McCahon Country’. Among McCahon’s landscape pieces, there is a substantial number of works that are drawn from, based on and inspired by North Otago and, if there were regions in New Zealand where it could be said that McCahon cut his artistic teeth, North Otago would definitely be one of them. The landscape with which we are presented in North Otago I is at once free and empty, while open to ownership, colonisation and development, yet it is also aloof, selfpossessed and secretive. In terms of colour palette and compositional structure, North Otago I is an exercise in reduction and simplicity as McCahon preserves only the bare structural essentials, which he transcribes through a monochromatic palette. Here we are offered a landscape cloaked in shadows, lying resolutely still beneath a wide expanse of pale-beige sky. This milky, biscuit hue is mirrored in the foreground by way of a thin, linear fillet that runs the length of the painting in the manner of a path or road, and which serves to knit together tightly the formal elements of the painting. The inky darkness is further punctured by two small rectangular patches of white, which appear to almost glow and shimmer in counterpoint to the surrounding tenebrosity. When viewed closely, it is evident that this segment of black is not a solid, impenetrable swathe of colourlessness, but is in fact home to subtle shifts in tonality and an internal lambency. The two luminous daubs of paint quietly demarcate a narrow strip of brushed pigment which holds faint traces of chalky white and dark, leaden grey, which animate the blackened ground. Further chromatic nuances are found in the taupe, almost-anaemic firmament, which is distinguishably lighter where it kisses the horizon line.


Here it leaves a halo of light on the edge of the piceous land, informing us of the magisterial dawning of light. This undistinguished, empty landscape is a speciality of McCahon’s. It is what the artist referred to as a “nothing landscape”,1 by which he meant that it was without picturesque or sublime scenery. It was not, however, according to McCahon, devoid of life, beauty or blessing and his landscape paintings, like North Otago I, all serve to capture and express the blessed tranquillity that McCahon felt intrinsically resided in the modest hills and the prosaic flat plains of the Otago district. In this manner, through his art, he sought to fight for a landscape that he saw being taken for granted and threatened by New Zealand’s indifference. It is unsurprising, then, that while being compositionally sparse, North Otago I resounds with a celestial, meditative quality. Both formally and allegorically then, the work bears a marked similarity to a series that McCahon produced that same year, The Fourteen Stations of the Cross held in the permanent collection of the Auckland Art Gallery. Like North Otago I, these fourteen works on paper offer a contemplative pairing between a dolorous landscape and an ashen, blanched sky. This eloquent chromatic combination immediately conjures associations with the pious polarities of black and white, and light and dark, which are heavily laden with history, spiritual devotion, faith and belief. In essence, like The Fourteen Stations of the Cross, North Otago I is hauntingly elegiac, a paean to the serene beauty, mystery, purity and sanctity of the region, which has been conducted by McCahon’s idiosyncratic paintbrush. JEMMA FIELD 1 - Quoted in Gordon H. Brown, Colin McCahon. Artist, Reed, Wellington, 1984 p.95


33 Ralph Hotere Vermilion Orange lacquer on corrugated iron with cast pewter mountings (diptych) signed Hotere, dated and inscribed Vermilion Orange, Studio Port Chalmers .NZ. in brushpoint right edge 860mm x 2700mm each 2700mm x 1830mm overall Estimate $170,000 - $220,000

Ralph Hotere’s Vermilion Orange (2004) is testament to the artist’s lifelong exploration into darkness infused with meaning, refracted light and colour. Twin panels hang in parallel synthesis, monumental in proportion and stained with black lacquer on corrugated iron. The vertical division between the two panels alludes to the stipe of the crucifix while its crosspiece is carved out and recoiled from the inky terrain to reveal an underlying hue of deep vermilion. The work’s eponymous title is steeped in history and symbolism. Predating the New World, the vibrant red pigment finds its origins in the Olmec culture and was prevalent in the royal burial chambers during the peak of the Mayan civilisation. It was equally valued in ancient Roman processions and the faces of the victorious were painted with the red hue in honour of Jupiter. In China, vermilion was seen as the colour of life, denoting blood, and by the Taoists as the symbol of eternity; accordingly, the ubiquitous ‘China red’ appeared in various places from the palatial lacquers to the unique calligraphic inks reserved for emperors. Despite its lustre and imperialism, the rich allure of the colourant is tainted with the darker undertones of its poisonous mercury component. The very nature of its substance embodies David Eggleston’s observations of Hotere’s practice: “Everything he touches turns to black; all the objects he makes, all the shapes he renders, all the colours he finds, are freaked with black”.1 The title also calls to mind Hotere’s deeply personal and political Sangro paintings (1962) created as tributes to his brother, who was killed at the Sangro River in the Second World War. The deep analogy of colour and blackness is synonymous with Hotere’s own enquiries into nature, politics, religion, death and the afterlife.


Featuring the persistence of darkness, line, repetition, colour and light, which the artist began exploring in his early Black Paintings of the 1960s, this work reveals how Hotere’s oeuvre constantly looks back on itself, challenging and redefining scale, medium, texture and abstraction, evoking the reductive minimalism of Ad Reinhardt and the Spanish Informalist, Antoni Tàpies. Reminiscent of his earlier works, Vermilion Orange (2004) traces a trajectory of the artist’s large-scale installations, marking a departure from Black Phoenix (1984–88), which was made from more-traditional wooden materials, towards formal abstraction and the employment of aluminium in Aramoana (1982). The later major collaborative piece, Blackwater (1999), was created by Hotere and Bill Culbert for an exhibition Toi Toi Toi: Three Generations of Artists from New Zealand in the Museum Fridericianum, Kassel, and Black Cerulean (1999), which forms the starting point for this current series, investigates the seven hues or pigments of the solar spectrum, through the use of the void and inversion. The viewer is seduced by the lucidity of the black lacquer, which creates isobars of light across the corrugated surface. Despite the work’s grandeur of scale, the inclusion of delicate cast pewter mountings bordering both top and bottom, conjures personal associations through the intricate forms of crosses, and floral and ethnographic motifs, attesting to Hotere’s esteemed regard as a maker of exquisite surfaces, and a poet of light. EMILY GARDENER

1 - Eggleton, David, quoted in Ralph Hotere: Black Light. Major Works Including Collaborations with Bill Culbert, Te Papa Press/Dunedin Public Art Gallery, Wellington & Dunedin, 2000, p. 52


34 Peter Robinson 100% oilstick and acrylic on timber packing case 1230mm x 1610mm PROVENANCE Purchased by the present owner from Peter McLeavey Gallery 20.7.95. EXHIBITED A Very Peculiar Practice: Aspects of Current New Zealand Painting, 1995, curated by Allan Smith, City Gallery, 1995 100%, Peter McLeavey Gallery, Wellington, 1994. ILLUSTRATED Stewart, Keith. "Robinson’s Ideas For Sale", The Evening Post, 1994 Estimate $16,000 - $25,000

Peter Robinson’s oil-stick paintings of the early 1990s were a bolt out of the blue. New Zealand contemporary art had exponents of both expressionism and conceptualism, but Robinson’s work was something new, wedding a raw, gestural style with biting social critique and savvy art-world references. With an almost brutal economy of means, Robinson held up a mirror to bicultural New Zealand and the reflection was hardly flattering. Packing cases, building paper, lumpy paint and angry oil stick packed the same punch as would political graffiti in a war zone. Robinson’s battleground wasn’t the streets but the white cube of the gallery: hence his frequent allusions to canonical artists. Colin McCahon’s passion for the pure simplicity of hand-painted roadside signs and Philip Guston’s black-humoured, cartoonish depictions of the human condition are both obvious reference points. Most striking in 100% is Robinson’s explicit homage to Gordon Walters’ elegant black-and-white abstractions of Maori koru. In the early 1990s, much was written for and against Walters’ appropriation of Maori motifs and, for the young Robinson, rediscovering his own Maori heritage led to a tongue-in-cheek reappraisal of Walters’ legacy. Like Walters, Robinson has lined up black forms horizontally on a white ground, so that positive and negative spaces dance with each other. Unlike Walters’ organic abstractions, however, Robinson prefers blunt silhouettes of submarines, aeroplanes and tanks. Some of these forms seem harmless enough – waka, stretch limos, junks – but others, like the heavily armoured battleship which forms the painting’s centrepiece, are clearly harbingers of war. Robinson’s vessels and vehicles are deliberately elongated – the better to resemble Walters’ koru – but his ham-fisted


facility with the tar-black oil stick mocks the fastidious perfection of the modernist master. Besides which, Robinson’s imagery is in no way spiritual or transcendent, but rather it is rooted in the messy realities of the world: politics and global finance, not to mention the imperialism and colonialism the young artist was starting to address in an acknowledgement of the Maori side of his heritage. Many of the works Robinson made contemporaneously with 100% featured slogans, sometimes witty and often controversial, in order to provoke discussion about race relations in this country. However, 100% tells its story without words; it’s a story about trade and exchange, shifting capital and modes of power. Far from appearing dated, the world Robinson was lampooning in 1994 with 100% has become even more mired in dirty politics, endless wars and unstable markets. Powerfully prescient, even Robinson’s use of the 100% label predates Tourism New Zealand’s branding of this country as ‘100% Pure’ – exactly the kind of disingenuous sentiment that Robinson’s work disproves. Robinson had an abiding interest in percentages for personal reasons – because of his Maori ancestry and because of the Pakeha penchant for breaking down ineffable ideas such as belonging into a series of fractions. 100% neither preaches about nor bewails the fate of the country or the planet; rather, it baldly states facts about weapons’ proliferation and capitalist excess. Utilising a powerfully simplified visual lexicon, Robinson manages to roll the global and the local, art and politics, into one incendiary package. TESSA LAIRD


35 Gordon Walters Untitled acrylic on paper signed Gordon Walters, dated ‘84 in graphite upper left and dated 10-8-84 in graphite upper right 380mm x 570mm Estimate $15,000 - $20,000 36 Milan Mrkusich Chinese Element Water acrylic on cardboard sections signed Mrkusich and dated ‘90 in graphite lower right 800mm x 590mm Estimate $8,000 - $10,000 37 Gordon Walters Rauponga acrylic on canvas signed G. Walters, dated ‘84 and inscribed No.1 in ink on canvas upper edge verso 910mm x 690mm Estimate $50,000 - $60,000



38 Colin McCahon


acrylic on paper 300mm x 570mm

tempera on honeycomb panel signed W. Roeth, dated 1998 and inscribed Yellow, 1997 - 98, tempera on honeycomb panel, h. 46 x w.42 in ink verso 1170mm x 1070mm

PROVENANCE Accompanied by a statement of authenticity by Gordon H. Brown dated 22 March 2003. REFERENCE This work was commissioned as a possible dust jacket design for An Introduction to New Zealand Painting 1839 - 1967 by Gordon H. Brown and Hamish Keith, Collins, 1968. Estimate $40,000 - $50,000


39 Winston Roeth

North Otago Landscape

Estimate $25,000 - $35,000

Harking back to a rich tradition of American abstraction, Winston Roeth’s reductive practice cannot be classed simply as ‘colour-field’ painting. Indeed, while a work such as Yellow probes the relationship between two colours, the artist’s intention is not to create a dynamic, visual pairing but rather to explore the ways in which the two colours affect one another. In Yellow, the luminous central panel draws incidental tonal variations – caused by both the tooth of the brush’s bristle and the amount of weight with which the stroke was applied – out from the deep

ultramarine-purple perimeter. Further, the darker outer rim’s hue is notably affected by the level of light that makes contact with its surface. As the tone of this thin strip changes throughout the day, it investigates every possible permutation of the work’s radiant yellow core. Roeth’s use of material is of central importance to his practice. Rather than draw his colour from a store-bought paint tube (a practice that was first popularised in the mid1800s when painting outdoors was gaining popularity), Roeth chooses to make his paintings in a manner that

is akin to the methods used by the great studio-based painters of the renaissance period. Roeth’s works are made using egg tempera, an ancient fast-drying medium in which, as suggested by the title, the primary binder is egg yolk. It dries with a hard, crisp finish and is favoured by Roeth because it allows the viewer an almost unadulterated experience with pure colour. Roeth has an extensive international gallery representation and a well-referenced exhibition history. He lives and works in Beacon, New York.


40 Charles Frederick Goldie A Sturdy Stubborn Chief Pokai, A Warrior Chieftain Of The Ngati Maru Tribe oil on canvas signed C.F. Goldie and dated 1920 in brushpoint upper left; signed C.F. Goldie and inscribed A Sturdy Stubborn Chief Pokai. A Warrior Chieftain of the Ngati Maru Tribe in ink on artistsl label affixed verso; inscribed (illegible) Family in graphite on canvas upper edge verso; original H. Fisher & Son Gallery label affixed verso 260mm x 210mm Estimate $200,000 - $300,000

One of Goldie’s concerns as an artist was to go beyond a mere recording of the facial features and accessories of his Maori sitters. He wanted to add a degree of characterisation, as we see in this portrait of the chief Pokai, by conveying a mood and something of the personality of each of his subjects. This linked his portraiture to the northern European tradition going back to Rembrandt where mood and intense feeling were projected by skilful use of chiaroscuro and a range of expressions from joy and humour to sadness and melancholy. Selfportraits, in particular, allowed painters the freedom to dispense with the demands of their clients and indulge themselves in various personas, sometimes including exotic costumes and props. For Goldie, sitters like Pokai, who did not commission the portraits, allowed a similar degree of freedom for the painter. Goldie liked to dress up his sitters in traditional costume, as we see here with the cloak, the greenstone heitiki, ear pendant and feathers of the extinct huia. Often Goldie supplied such items from his own collection of artefacts. In combination with Pokai’s full moko, the costume and carefully chosen accessories give a striking and exotic look to the sitter. Whether Pokai actually dressed in this manner becomes less important than is the effect of mana and authority that the image generates for the viewer. We know that Hori Te Ruinga Pokai, to give him his full name, was painted often by Goldie, over an extended period of time, beginning in 1905, when the artist met him at Thames, and continuing to the 1930s long after Pokai’s death. Obviously, Goldie must have depended on photographs to some extent for his later portraits of Pokai, such as those taken much earlier than 1920 by William Hammond. In fact, Pokai died about 1921 at the age of 90


whereas this portrait shows him as much younger and still a force to be reckoned with. Pokai lived near Thames later in life but was born in the Bay of Islands as his father had been captured in a Ngapuhi raid on Totara Pa in 1821 and was forced into slavery. By showing Pokai in strict profile, Goldie keeps him at a distance from the viewer having him gaze out of the picture towards an unseen protagonist. His tightly clenched jaw and stern expression are suggestive of his stubborn nature and unwillingness to compromise with others. It is quite different from the reflective character we find in Goldie’s more typical portraits of elderly sitters who seem lost in thoughts of the past; Pokai is still a virile and formidable opponent. The pooled shadows around his eye and jaw add to the solid, unshakeable demeanour of the chief. By bringing the head out against the light ground in silhouette, Goldie evokes an effigy of imperial power on a classical coin – aloof and unflinching. In his handwritten label on the back of the canvas, Goldie gives the descriptive words “sturdy” and “stubborn” prominence in his title of the portrait, thus indicating their importance to his conception. Typically for Goldie, the painting is technically irreproachable showing a mastery of texture, light and modelling. His controlled use of impasto to bring out highlights on the feathers, forehead and cloak is subtle and nicely judged. He had learnt his technical lessons well in Paris and was adept at using them to give his portraits their vivid, believable presence. The high finish of the portrait and intimate scale of the work allow it to be studied close up; this is where the artist’s technical virtuosity becomes most apparent. MICHAEL DUNN


41 Rita Angus St Luke’s Church, Waikanae oil on board signed Rita Angus in brushpoint lower right 390mm x 340mm PROVENANCE Originally from the collection of Christopher Jones, nephew of Rita Angus. The Jones family left New Zealand for the United Kingdom in the mid 1960s, taking with them a number of drawings and paintings by Angus. Estimate $95,000 - $120,000

Among New Zealand regionalist painters Rita Angus occupies a special place. Although she dealt with subjects comparable to those of other regionalists, her range as an artist was more extensive and involved a highly individual and imaginative dimension. This can be seen most clearly in her famous goddess paintings where Buddhist influences are apparent as well as explicit references to the New Zealand landscape. The current painting comparatively is more literal and descriptive. It depicts a weatherboard Gothic church of a type found in many small towns and rural areas of New Zealand. In her hands it becomes an iconic image that stands for all such churches as well as remaining an identifiable recording of St Luke’s Church, Waikanae. Comparable churches and chapels can be found in the paintings of other major regionalist artists like William (Bill) Sutton. His Nor-Wester in the Cemetery of 1950 in the Auckland Art Gallery is the most famous example. Like


Sutton, Angus shows the church as part of the landscape, with trees and dry dunes behind it and a cloudy sky above. The isolation of the church and absence of people inform us about the smallness of the community where it is situated as an outpost of Christianity. Typically with Angus, the details of the lancet windows, the porch and the belfry are rendered with a feeling for pattern and rhythm. The framing green leaves suggest summer. Rita Angus had strong connections with Waikanae, located thirty kilometres north of Wellington, through her parents who moved there from Napier to live in 1943. She often spent part of the year with them until 1953 when they sold the property. She made many studies of the seashore and the flowers and trees in her parents’ garden. The present painting is undated but was probably executed in the period 1951-53 when she was very active at Waikanae. MICHAEL DUNN


42 Colin McCahon Landscape Theme and Variation (G) oil on unstretched hessian inscribed G in brushpoint upper left verso 1760mm x 830mm REFERENCE Colin McCahon database reference number cm001207 EXHIBITED McCahon: A Landscape Theme with Variations, Ikon Gallery, 14 - 31 May 1963. Estimate $180,000 - $250,000

Colin McCahon’s Landscape Theme and Variations series found its origins in the artist’s experiences of America during a research trip to the country in 1958. In the months directly prior to his American trip, McCahon made the most technically accomplished works of the early portion of his career: his iconic, cubist-influenced, Kauri and French Bay paintings of 1958. However, upon his return from America, this approach, which he developed over almost a decade, was immediately admonished in favour of a method that was fluid, contemplative and physically aware. In the artist’s own words, his “lovely kauris became too much” and he “fled north in memory”. 1 The works painted upon his return from America demonstrate a clear influence from America’s mid-century abstract expressionism. They share a figurative energy that is akin to Pollock’s practice and share a visually discernible similitude to practitioners like Motherwell, Kline and Rothko. Whereas his earlier Kauri paintings sought to apply a systematic and ordered balance to his immediate environment, Landscape Theme and Variations (G) sees the artist engage with vast, wideopen spaces and larger, metaphysical structures. In Landscape Theme and Variations (G), only disparate compositional devices describe McCahon’s terrain. Guilefully, every line and contour has been carefully formed so that it subscribes to a legible convention that his audience would associate with historical New Zealand landscape painting; features like rolling hills and open spaces were the stock-in-trade of populist, early-19th-century regionalists such as Perrett, Baker and Blomfield. Landscape Theme and Variations (G) sees McCahon unpacking the way in which he was taught to view his native landscape and the work unravels a frame of reference that was constructed by


colonists who viewed the landscape, above all else, as a commodity. Throughout his life, McCahon was always a religious man; however, his paintings of the early 1960s bore witness to a change in his understanding of divine power. Whereas, previously, the artist had explored esoteric themes by inserting canonical figures into his landscapes, in Landscape Theme and Variations (G) the landscape is endowed with a celestial quality of its own. With its crisp, washedon ochre, heavy, layered ultramarine pigment and incidental threads of spattered white paint, Landscape Theme and Variations (G) is not simply an image but rather the product of a transcendental experience. It is the product of a painting process that is inherently physical: a modality whereby the human gesture is of equal importance to the resulting composition. To this end, the artist purposefully chose a substrate – heavily woven hessian – that was not just a surface on which to paint but, rather, a material that had the tooth and tenor to record and withstand his actions. When the many shades of meaning are pared back, at its very heart, Landscape Theme and Variations (G) promotes the benefits of a human existence that is in tune with the landscape and, by the same token, the necessity to preserve and protect New Zealand’s wide-open spaces. In a statement written when his Landscape Theme and Variations paintings were to be shown at Auckland’s Ikon Gallery in 1963, McCahon said of the series, “I am dealing with the essential monotony of this land, with variations on a formal theme, and again, as in the Northland Panels of some years ago, ‘a landscape with too few lovers’.” 2 CHARLES NINOW 1. Brown, Gordon H. Colin McCahon: Artist: Reed, Auckland 1993 p. 95. 2. Ibid. p.101


43 Rita Angus Farm Buildings in a Landscape and Landscape oil on canvas, double sided inscribed Two Sketches by Rita Angus in brushpoint lower right verso, likely in another hand 250mm x 350mm PROVENANCE Collection of the Bensemann family. Gifted to Leo Bensemann by Rita Angus. Estimate $60,000 - $80,000

This pair of landscapes was gifted by Rita Angus to her friend Leo Bensemann and has remained in his family until now. Obviously, the work had come from her studio and had probably not been exhibited in her lifetime. The fact that one work was painted on the other side of an existing image was not unusual in the case of Angus and her contemporaries like Woollaston. Canvas and paints were not always readily available during the Second World War and the years that followed so a degree of improvisation was necessary. Of the two works, the view of buildings with hills in the background is the more substantial. The dark, mountainous landscape which included a river on the other side, with its narrow tonal range, suggests paintings like her Mt Stewart, Waiau, North Canterbury of c1931–32 and was almost certainly painted first. The town view is likely to be a view towards the Port Hills in Christchurch, where Leo Bensemann settled after his marriage in 1943. The dry-ochre colour of the hills and bright palette indicate a summer scene. It is interesting that the two works are contrasted in their palette and mood. Certainly the paintings date from Angus’ early years and the time of her closest association with Bensemann. The townscape is a bold, modernist painting taken from a high viewpoint looking down the road to the hills that close the view. It has the feel of a work painted on the spot judging by the broad handling and effect of bright


sunshine. The use of a high horizon enters Angus’ work during this period and is part of her concern to compose the picture out of formal elements that relate to the picture plane rather than recede into an illusionistic space. Her use of outlining and simplified depiction of the roofs and walls of the houses as flat shapes of colour fit with this philosophy of art. This was in direct contrast with the earlier Canterbury School painters like Archibald Nicoll and Sydney Lough Thompson. Poster art was popular at this period and seems to have influenced her approach. Angus had an interest in the built environment from when she grew up in Napier, the daughter of a prominent builder who founded Angus Construction Company. She knew the early town views of Napier by Roland Hipkins, such as Back Yards, Napier, 1926, and had sketched the ruined city after the Napier earthquake. She finds in suburbia and the everyday environment all she needs for her painting, so does not always seek out scenic subjects. She contrasts flat surfaces of colour in the houses with the gestural dabs and strokes of paint she uses to depict the trees and incidental features in the landscape. This is a fresh, lively painting with an experimental aspect to it, typical of Angus at this stage of her career. Michael Dunn



44 Stephen Bambury

Beach Caves

acrylic and resin on paper (diptych) each signed Bambury and dated 2000 in graphite upper edge verso 480mm x 310mm

oil on canvas board signed Fomison, dated 1980 and inscribed “Beach Caves”, underpainting c. 1.8.80 Burnt Sienna Rock, 11.8.80 archipeliago sand, 20.9.80 PR Blue in graphite verso 310mm x 400mm

Estimate $2,000 - $3,000 45 Shane Cotton Land of Names oil on canvas signed S.C., dated 20/2 and inscribed Land of Names. Names of the People. Kotahi Te Ture mo Nga Iwi e Rua Maungapohatu in brushpoint; signed Shane Cotton, dated 2012 and inscribed “Land of Names”, Names of the People, Kotahi Te Ture mo Nga Iwi e Rua Maungapohatu. One law for both peoples. Maunga Pohatu. in ink verso 605mm x 375mm Estimate $8,000 - $12,000


46 Tony Fomison


Estimate $20,000 - $30,000 47 Stephen Bambury The Eternal Persistent resin and graphite on two aluminium panels (diptych) signed S. Bambury, dated 2000 and inscribed S. Bambury 2000 “The Eternal Persistent” in ink verso 170mm x 340mm overall Estimate $5,000 - $7,000


48 Bill Hammond Ancestral H2 acrylic on stretched linen signed W.D. Hammond, dated 2005 and inscribed Ancestral H2 in brushpoint upper edge 1000mm x 600mm Estimate $90,000 - $120,000


Bill Hammond’s Ancestral H2, from his Ancestral series, is perhaps best understood in relation to the works that the artist made as a result of his trip to the remote, subantarctic Auckland Islands in 1989. There is no human settlement in the region and, aside from two species of seal; the only animal habitation on the island is birdlife. The Auckland Islands gave Hammond an unprecedented insight into what New Zealand might have looked like if it had not been touched by the human hand and the experience caused a very distinct shift in the artist’s practice. After this trip, he turned away from the densely constructed ruminations on modern life that he painted in the early part of his career and, instead, chose to engage with and depict pristine, untouched environments.

destructive tendencies of human development and colonisation. While their appearance is utterly serene, the figures that have developed human hands and feet also project a foreboding tone. The largest of these avian primates has the tail of a smaller reptilian creature wrapped around its wrist, suggesting a subservient relationship, whilst another, situated in the lower left-hand corner, carries a bone in its hand, dictating that it indulges in violent, carnivorous practices. Hammond clearly seems to suggest that those creatures with human features are more evolved than are those without them. However, he also suggests that their human qualities bring with them the imminent and eventual destruction of their peaceful, flourishing way of life.

Ancestral H2 is an exploration into an imaginary habitat where birds have been left to develop completely independently of any other species. It presents a plethora of avian forms that are unlike any that currently exist on earth – some have birds’ heads attached to human forms while others have human heads or reptilian bodies. That many smaller avian creatures appear to be growing out from the two human heads in the upper portion of the picture plane, and that many of the other figures touch, very slightly, suggests that this new species reproduces in an almost cellular manner. The picture plane is posed almost as a small snapshot of a much larger Petri dish in which the creatures are endlessly and exponentially multiplying.

In addition to the narrative’s ominous tones, the detailing that Hammond has applied to these creatures – dense filigrees, orientalist representations of fauna and luscious metallic pigmentation – is intended to appeal to the darker, predatory side of human nature. Just like the many species of animal which, throughout human history, have been hunted for their aesthetic attributes or, indeed, like our own native huia, which was driven to extinction for its remarkable feathers, the creatures in Hammond’s imaginary environment intentionally tempt and entice the viewer. Hammond’s Ancestral series places the viewer in the position of a predator, looking into a fragile and untouched world.

This work is not simply a foray into a world of makebelieve. It carries with it a dark narrative about the



49 Ralph Hotere Black Window - Alumin Politik acrylic on hardboard in villa sash window frame signed Hotere, dated '82 and inscribed Black Window, Port Chalmers in brushpoint; inscribed Alumin Politik in brushpoint verso; frame maker, Roger Hickins' monograph burnished lower right 1220mm x 860mm Estimate $160,000 - $200,000

verso Ralph Hotere’s Black Window series, to which Black Window - Alumin Politik belongs, found its impetus in a significant event in New Zealand’s cultural history: the Save Aramoana campaign that commenced in 1974 and stood in opposition to the planned construction of an aluminium smelter at the Aramoana settlement on the Otago Peninsula. The campaign was motivated by the fact that the development of the smelter would displace the communities of both Aramoana and the nearby village of Te Ngaru; it resulted in the settlement’s reactionary measure of declaring itself a sovereign state, a ‘micro nation’ with its own border posts and passports, on 23 December 1980. The campaign would eventually prevail over the plans to build the smelter. To Hotere, the events that unfolded in Aramoana were significant not because a small community eventually triumphed over a much-larger oppressor but, rather, because the campaign’s central concern was the right of an indigenous community to self-determination. In Hotere’s work, the references to Aramoana do not simply refer to a conflict over an aluminium smelter; instead, the Aramoana threat was emblematic of the plight that the tangata whenua continue to face under the system of governance imposed by the Treaty of Waitangi. Like a functional architectural window, Black Window Alumin Politik seeks to present the viewer with a carefully selected vantage to a world outside of their own immediate physical environment. The work presents a bleak outlook, circumscribed by white line and text and dominated by an unmercifully applied black ground. While the curved white line in the upper portion of the picture plane presents a horizon, the central cross form plays to the figuration’s traditional symbolic readings: it functions both as a reference to cardinal points and as a representation of the


unity between divinity (the vertical line) and the physical world (the horizontal line). Furthermore, when considered against the numbers 1-14, which flank the cross on either side, it can be read as a biblical reference to the Stations of the Cross. Rather than present any legible content, the remainder of Hotere’s text is a lattice of numerically and alphabetically ordered data: a foreign structure that obscures the view offered by his Black Window. The colour black has a ubiquitous presence in Hotere’s practice – the artist’s friend and colleague, Hone Tuwhare, refers to its presence as a ‘visual kind of starvation’ 1 – and in Black Window - Alumin Politik, the dark matter is held up like a blockade and denies the viewer any scenery or perspective. While Ralph Hotere’s practice is deeply politicised, it was not until the early 1980s, when his Black Window series was produced, that he openly engaged with contemporary political discourse. Prior to this, the concerns echoed by Black Window - Alumin Politik were still present; however, they were often hidden behind a complex set of reference points. For example, Hotere’s Black Paintings of the late 1960s and early1970s engaged with the aroha of the tangata whenua by constructing a waiata from abstract visual harmonics and his Sangro series of the late 1970s engaged with the issue of self-determination by recalling the death of his brother Jack in the Second Word War. Hotere’s Black Window paintings were a departure from his earlier practice because their message was not infused with lush visual heraldry. Rather than quietly persuading the viewer about the merits of its cause, Black Window - Alumin Politik gives physical form to the power relationship that is the basis of New Zealand’s nationhood. CHARLES NINOW 1 - Tuwhare, Hone. "Hotere". Deep River Talk: Collected Poems, Godwit Press, Auckland 1993, p. 51.


50 Michael Hight Willowburn


51 Bill Hammond

oil on canvas signed Hight, dated 2004 and inscribed Willowburn in brushpoint lower edge; signed Hight, dated 2004 and inscribed Willowburn in graphite verso 1000mm x 2440mm

Job Search

Estimate $20,000 - $30,000

Estimate $25,000 - $35,000

acrylic on wallpaper signed W. D. Hammond, dated 1989 and inscribed Job Search in brushpoint lower edge 530mm x 1855mm

52 Peter Robinson Big Bang, White Heat acrylic on stretched linen Anna Bibby Gallery label affixed to stretcher verso 1600mm x 1600mm PROVENANCE Originally purchased by Jim Fraser from Anna Bibby Gallery in October 1998.

EXHIBITED Toi Toi Toi: Three Generations of Artists from New Zealand, Kunsthalle Fridericianum Kassel and Auckland Art Gallery Toi o Tamaki, January - August 1999. ILLUSTRATED The catalogue for the aforementioned exhibition, pp. 62 - 63. Estimate $18,000 - $25,000



Colin McCahon 2 from the Numerals One to Five series ink on paper signed Colin McCahon and dated 1959 in ink lower right 760mm x 550mm exhibited Paintings by Colin McCahon, November 1958 - August 1959, Gallery 91, Christchurch, October 1959, cat no 5 (as one of five). REFERENCE Colin McCahon database reference cm001381. Estimate $70,000 - $85,000

From the series Numerals One to Five that Colin McCahon completed in 1959, 2 offers a coherent combination of abstract, roughly brushed strokes and figurative signs. Along with the other paintings in the series, 2 presents the viewer with both the numeric and the alphabetic versions of a number, which are joined together through a cloudy morass of inky splatters, strokes, dribbles and dabs that warble and weave down the paper. It is testament both to McCahon’s artistic talent and to the strength of his exploration of the facets of human existence and religious belief that such a seemingly simple composition as that which makes up 2 can yield such a wealth of visual and metaphysical experience. The series Numerals One to Five is the last of three that McCahon completed in the investigation of the symbolic potential of numeric values in the late 1950s. His first series from 1958 featured only the numeral forms of the numbers one to three, which were coloured in muted tones of reds, yellows, earthy browns and pale blue and were accompanied by geometric blocks of colour. McCahon’s subsequent two series saw him add the spelt word of the corresponding numeral to each work and eschew all chromatic possibilities in favour of the sombre eloquence of black and white. The gestural qualities of the last series are the most pronounced, as though McCahon had finally managed to eliminate any compositional preconceptions and allow himself to be taken up in the moment. McCahon later returned to the theme of numbers in either numeric or alphabetic form in the late 1960s and 1970s when he produced a number of large-scale panels, some of which were intended to embrace the viewer as a complete environment.


In comparison to the works comprising the preceding two series, the paintings from Numerals One to Five are loose and spontaneous and also feature a slight rotation or distortion of the number, which works to reduce the legibility of the signs while heightening the conceptual potential of the composition. Thus, the ostensibly abstract forms of 2 can be seen to contain evocations of landscape and humanoid elements. The thick, black outline of the numeral appears to enclose a mountainous structure, separating it from the ominous murky black that descends from the heavens. Or perhaps it is a bowed head, fervently praying with closed eyes. Executed in a monochromatic palette, the work is visually arresting. The trace of McCahon’s hand is preserved in the flurry of strokes that are scrawled across the surface of the paper and, true to form, he has adeptly reached a harmony between abstract markmaking and recognisable figurative elements. In relation to the boldly dark lettering and serpentine numeral, the white expanse of untouched paper speaks of purity, of beginnings and of a celestial light that has the ability to penetrate and illuminate. Indeed, 2 virtually pulsates with depth of feeling and testifies to McCahon’s constant yearning for knowledge and the understanding of the fundamentals of faith, belief and spiritual conviction. The piece is a veritable masterpiece in the distillation and communication of mystical truths and evidences an artist who was consistently able to imbue his works with an alluring type of prophetic poignancy. JEMMA FIELD


54 Max Gimblett Transcending The Dust Of The World - After Shih Tao! gesso, acrylic, vinyl polymers, epoxy and swiss gold leaf on canvas signed © Max Gimblett, dated 2008 and inscribed “Transcending The Dust Of The World - After Shih-Tao!”. Water is Never Clumsy. Palladium - P5635 in brushpoint on stretcher verso Estimate $70,000 - $90,000

Based in New York for the past 40 years, Max Gimblett has established himself as New Zealand’s premier expat expressionist. He has earned this reputation by diligently exploring the possibilities of a streamlined formal vocabulary in which Eastern mysticism and Western abstraction intersect, often with eye-catching results. Transcending The Dust Of The World - After Shih-Tao! is an excellent example of the artist’s distinctive style. Painted in 2008, its lineage lies in a series of works Gimblett displayed in the Guggenheim Museum’s exhibition The Third Mind: American Artists Contemplate Asia. The piece is achieved with a typically stripped-back palette of subtle greys and dense blacks, with flourishes of Swiss gold leaf floating atop an epoxied surface. Like all great abstract paintings, Transcending The Dust Of The World evokes rather than represents its subject matter. Its title refers to the 17th-century landscape painter and poet Shih-Tao, and the abstracted forms within it follow the traditions of the Chinese master to whom it is dedicated. Black ribbons of paint snake across a gesso ground, approximating the mountain ranges that frequently populate the work of Gimblett’s artistic forebear. A Zen Buddhist, Gimblett’s belief in reincarnation is well known, and here he presents in paint a conversation that spans the centuries. Equally, the work’s origins might be traced to the abstract expressionists who dominated American art in the middle of the 20th century. Like the paintings of Jackson Pollock, Robert Motherwell and Clyfford Still, Gimblett’s piece is gestural, viscerally evoking the artist’s act of creation. The work also makes manifest Gimblett’s long-standing


interest in calligraphy, first piqued in childhood and later developed with an eye to the masters of the East. Here his forms weave across the surface like curious characters: the result of an assured hand capable of both fluidity and power. Perhaps due to Gimblett’s background in pottery, Transcending The Dust Of The World is as sculptural as it is painterly. No reproduction can adequately simulate the way that light animates the work – to obtain its full effect, viewers must approach the painting and absorb themselves in its presence. They will then notice that the Swiss gold leaf shifts in hue from silver, to green, to gold, as the eye traces its textured surface. All the while, black swathes bands of acrylic paint twist and turn below: free-floating forms locked in suspended animation. Transcending The Dust Of The World presents an ambiguous pictorial space, an untethered perspective in which its composite elements move forward or back at the mercy of the viewer’s perception, creating a dynamic relationship between figure and ground. Indeed, this is a painting of and about relationships: not only between figure and ground, but between tradition and change, forebear and follower and, most especially, between artwork and viewer. Like all good art Transcending The Dust Of The World is a work which encourages the development of a relationship over time. Like all good art, it doesn’t reveal itself at once but slowly, seductively, layer by layer. MATT PLUMMER


55 Ralph Hotere Black Painting brolite lacquer on hardboard signed Hotere, dated Dunedin ‘69 and inscribed “Black Painting”, Brolite lacquer on board, 48 x 24 in ink verso; Robert McDougall Art Gallery label, John Leech Gallery label and Canterbury Society of Arts label affixed verso 1200mm x 600mm Estimate $60,000 - $80,000

Black is absolute. Set at the end of the chromatic scale, it forms the boundary to hues both warm and cold and, depending on the mattness or glossiness of its application, it can negate or synthesise colour. This idea is boldly illustrated in the lustrous lacquer surfaces that constitute Ralph Hotere’s Black Paintings. Completed in the late 1960s and early 1970s, this series of minimal, emblematic paintings engaged with many of the formal devices that would become defining features of the artist’s practice. In Hotere’s Black Paintings, line, colour and black harmoniously converge to create works of exquisite detail and beauty. In this Black Painting, the viewer is presented with a vertical column of gated, horizontal stripes of colour which dissects the painting. Suspended in the black void of the surrounding picture plane, each line is wire-thin and, as the eye traces these incursions from top to bottom, the subtle darts of olive and mauve take on a rhythmic quality. They expand and contract like musical chords while the strings of pale purple and cool, grayish-green play individual notes that ring out through the silence. Hotere’s love for jazz and classical music is clearly evoked by his handling of tone and metre. In addition to its harmonic facility, each broken line also functions as a step and, as a whole, the column that divides the picture plane in half forms a luminous path through the darkness. Here, colour is transformed into light and the blackness serves to make it visible. Near the centre of this path, the artist has placed an intersecting cross. The form has almost unlimited symbolic potential


and, in this context, it can be seen to refer to the four poles of a compass or to serve as an illustration of two crossing paths. The notion of a ‘journey’ is a recurrent motif in Hotere’s oeuvre, particularly in the expansive hardboard panels that make up Godwit/Kuaka of 1997


and in his collaboration with Bill Culbert, Pathway to the Sea – Aramoana of 1991.2 In the top right-hand corner, a single blue incision cuts across the picture plane. This simple device could be viewed as a threshold and what lies beyond this boundary cannot be seen and thus remains a mystery. Alternatively, this line offers a glimpse of an alternate route: a thin, distant clearing that can only just be made out. The distinct angle of the line also bears a resemblance to the steep contours of a mountainside, with its glowing presence revealing the way to the summit or a safe passage to the other side. Interestingly, while it is only the bands of colour that define and distinguish each of Hotere’s Black Paintings, their most poignant symbolic function can perhaps be found in the depths of their reflective surfaces. The viewer is intentionally reflected in the work’s sheer surface and their writhing self-image becomes an integral part of the viewing experience. Hotere’s Black Paintings establish a tension between his audience and the natural world that parallels his own concern for the native environment, which is invariably at the mercy of the human hand. BEN ASHLEY 1. Godwit/Kuaka is held in the collection of the Chartwell collection. 2. Pathway to the Sea – Aramoana is held in the collection of Te Papa Tongarewa.


56 Colin McCahon Northland ink on paper signed McCahon, dated April '59 and inscribed Northland in ink lower left 600mm x 480mm REFERENCE Colin McCahon database refernce number cm000505 EXHIBITED Colin McCahon: Gates and Journeys, Auckland City Art Gallery, 11 November 1988 - 26 February 1989, cat no. J6. Estimate $38,000 - $45,000


57 Frances Hodgkins The Picnic watercolour on paper signed F.Hodgkins in ink lower right; newspaper clippings about the artist affixed to backing board verso 270mm x 270mm Estimate $35,000 - $45,000


58 Michael Smither Kawaroa Paddling Pool oil on board signed MDS and dated 1998 in brushpoint lower right 1200mm x 1780mm provenance Purchased directly from the artist by the present owner Estimate $85,000 - $120,000

Kawaroa Paddling Pool is immediately recognisable as the work of iconic New Zealand realist painter Michael Smither. The palette choice, subject matter, brushwork, simplified composition and close-up viewpoint are all delightfully and quintessentially ‘Smither’. Born in New Plymouth, Smither spent a significant portion of time exploring the rocky coastal environments of the Taranaki region, so it is perhaps unsurprising that fragments of the area consistently haunt his work. What Ron Brownson has designated “rock- or shore-scapes”1 comprise a large portion of Smither’s oeuvre, and some of his most iconic and celebrated paintings feature the smooth, ovoid rocks and watery vistas of Taranaki. In Kawaroa Paddling Pool, we are immediately cast back into the recesses of Smither’s childhood, where we are greeted by a sharply rectangular pool of water that is framed by a nest of round glossy stones. The scene is elegantly calm and serene, seemingly removed from the possible ravages and disruption of wind, humanity and even time. Sunlight beams down, bathing the scene with a startling clarity, and the flawless mirror finish of the water allows us to peer down to the tightly packed crowd of small purplish pebbles below. Smither’s use of an extremely close vantage point, tilted perspective and tight cropping imparts a sense that these sleekly polished blue-green rocks extend endlessly beyond the confines of the canvas edge. And indeed, the use of unusual and somewhat skewed viewpoints is characteristic of much of Smither’s work; in Kawaroa Paddling Pool, it has the effect of making us, the viewers, feel as though we


are right there on the rocks, standing a few feet from the pool and yet, at the same time, we tower over it in order to peer into its stony depths. Smither operates with an uncompromising attention to detail, which produces an almost palpable sense of reality. Each individual stone in Kawaroa Paddling Pool is carefully delineated, and the relationships between objects are conscientiously marked out. This is mimesis at its best: when nature appears to have been grafted onto the canvas and lies there quiet and still, for the contemplative perusal of the spectator. It is, however, Smither’s very personalised snapshot of nature. His paintings are never merely representational as his use of feathery, velveteen strokes of paint together with intensified colours results in a highly stylised and heightened sense of naturalism. Here, in Kawaroa Paddling Pool, Smither’s distinctive vision and technique transform a potentially banal, simple subject into a scene that is burnished with a radiant chimerical gloss so that, while being possessed of familiarity, it is also redolent with possibility, with mystery and with a fantastical strangeness. At the heart of this painting then, we are greeted with Smither’s artistic alchemy that graces much of his best work: his unflinching ability to record his immediate surroundings through a personalised lens of mysticism and memory, and a poetic beauty that extends beyond his work and beyond the designation of straightforward realist painting. JEMMA FIELD 1 - Ron Brownson, Michael Smither: The Wonder Years, Auckland, 2005, 14.


59 Andrew McLeod Untitled - Homage To Burn Jones 2006 digital print and hand painted gouache on paper, 2/2 835mm x 1170mm PROVENANCE Purchased from Peter McLeavey Gallery, Wellington. Estimate $5,000 - $6,000 60 Andrew McLeod Camowhaiwhai acrylic, pencil and letraset on paper signed A. McLeod and dated ‘99 in pencil lower left 1200mm x 900mm Estimate $8,000 - $10,000


61 Milan Mrkusich Untitled from Emblem Series oil on canvas signed Mrkusich and dated ‘65 in brushpoint lower right 1200mm x 1220mm Estimate $45,000 - $65,000



62 Simon Kaan

63 ralph hotere

64 Milan Mrkusich

Waka No. 3

Pathway to the sea


acrylic on board signed Kaan and dated ‘03 in brushpoint lower right 1200mm x 1600mm

watercolour and ink on paper signed Hotere, dated '75 and inscribed Drawing for Ian Weddes "Pathway to the sea", Port Chalmers in ink lower right

oil on board signed Mrkusich and dated ‘60, incised into paint surface lower right 850mm x 530mm

Estimate $17,000 - $24,000

Estimate $18,000 - $25,000

Estimate $18,000 - $25,000


65 Toss Woollaston Tasman Bay oil on canvas signed Woollaston and dated ‘86 in brushpoint lower right; Vavasour/Godkin Gallery label affixed verso 900mm x 1200mm Estimate $45,000 - $65,000


66 Toss Woollaston Greymouth oil on paper signed Woollaston in brushpoint lower right verso (a copy of this signature is affixed verso as the canvas has been relaid onto archival board and is not visible) 460mm x 520mm Estimate $15,000 - $20,000


67 Tony Fomison King Lear oil on canvas signed Fomison in brushpoint lower right; inscribed {King Lear} “You mad one turned into a fool by your own fool Who has now become your confessor and the Punch & Judy show is on� 1988 Lincoln St, 1989 Williamson Ave Grey Lynn, Fomison in ink verso 460mm x 550mm ILLUSTRATED Wedde, Ian (ed.) Fomison: What Shall We Tell Them, Wellington City Gallery: Wellington, 1994, p. 176. Estimate $28,000 - $35,000


68 Tony Fomison In This Crowded Ward the Beds Were Close Together and Someone Died Every Night oil on canvas board signed Fomison, dated 1987 and inscribed “In this crowded Ward the beds were close together and someone died every night�, 79 Lincoln St, Grey Lynn, Auckland in graphite verso 395mm x 545mm Estimate $30,000 - $35,000


69 Milan Mrkusich Painting 62-10 oil on jute signed Mrkusich and inscribed 62-10 in brushpoint lower right; signed M. Mrkusich and inscribed Painting 62-10, 30 Arney Crescent, Remuera, Auckland, N.Z in graphite verso 880mm x 1710mm Estimate $60,000 - $80,000 70 Rosalie Gascoigne Painted Words spraypainted masonite, wood cut-outs on plywood signed R. Gascoigne, dated 1988 and inscribed Painted Words in ink verso; Roslyn Oxley Gallery label affixed verso 830mm x 560mm PROVENANCE Roslyn Oxley9, Sydney, Australia. Greenaway Art Gallery, Adelaide, Australia. Private collection, Auckland. EXHIBITED Greenaway Art Gallery, Adelaide, Australia, 1996. Peter McLeavey photographed before the Milan Mrkusich Painting 62-10 (lot 69) and works by Toss Wollaston, c.1962.


Estimate $45,000 - $65,000



71 Bill Riley Untitled oil on glass with hidden pine mount 1615mm x 1000mm Estimate $5,500 - $7,500

73 Tony de Lautour Frightened

oil on glass with hidden pine mount 1740mm x 300mm

oil on canvas signed Tony de Lautour and dated 2006 in brushpoint lower right and inscribed Frightened in brushpoint upper left 1000mm x 1210mm

Estimate $3,500 - $7,000

Estimate $12,000 - $18,000

72 Bill Riley Untitled


74 John Reynolds History Is This #1, #6 and #7 oil pastel and acrylic on three stretched canvases each signed Reynolds, dated 2000, inscribed History is This #1, History Is This # 6, History Is This # 7 respectively and each inscribed From Gertrude Steins ‘History or Messages From History’ in ink on stretchers vero 1530mm x 1010mm (each) EXHIBITED History is This #1, and History Is This # 6, exhibited in K Rd to Kingdom Come: John Reynolds, Painting Projects, Govett-Brewster art Gallery, New Plymouth, 13th October - 2nd December 2001. Estimate $40,000 - $50,000

75 John Reynolds Handrail Of Language oil pastel on paper inscribed Handrail of Language in pastel lower right 2010mm x 2720mm Estimate $8,000 - $10,000


76 Max Gimblett Tiburon Grisant gesso and metallic pigments on stretched canvas signed Max Gimblett, dated ‘83 and inscribed ‘Tiburon Grisant’ in brushpoint upper edge verso 500mm x 300mm x 80mm Estimate $4,000 - $6,000


77 Tony Fomison Inward Eye oil on canvas signed Tony Fomison, dated 1 - 15.2.88 and inscribed “Inward Eye� and 79 Lincoln Street, Grey Lynn in ink verso 330mm x 415mm Estimate $20,000 - $25,000


78 John Walsh Motuhake oil on board signed J Walsh, dated 2005 and inscribed Motuhake in pencil lower right verso; original exhibition label affixed verso 900mm x 1200mm Estimate $14,000 - $18,000


79 Toss Woollaston Portrait of Douglas Gerard acrylic on board signed Woollaston in brushpoint lower right 820mm x 740mm Estimate $25,000 - $35,000


REFERENCE John Douglas Gerard (1916-1989) OBE commissioned this portrait after Woollaston had sketched him at work in his Whangarei law office in 1971. Douglas Gerard served with the 2nd NZEF in the World War II and was captured by Italian forces in Libya in November 1941. After serving time in an Italian prisoner of war camp, he escaped from the facility in September 1943. Upon his return to New Zealand, he practised law in Whangarei for 45 years and became president of the Auckland District Law Society from 1968 to 1969.

80 Milan Mrkusich Painting 62-1 oil, graphite and metallic foils on stretched canvas signed Mrkusich and inscribed 1/62 in ink lower right; inscribed Painting 62-1 in pencil upper edge verso 830mm x 885mm Estimate $35,000 - $45,000


81 Mervyn Williams Fusion acrylic on two stretched canvases (diptych) signed Mervyn Williams, dated 1998 and inscribed “Fusion� in brushpoint verso; inscribed right panel and left panel in brushpoint on stretcher verso 1530mm x 1660mm (overall) Estimate $12,000 - $18,000


82 Don Peebles Pier & Ocean No.2 acrylic on canvas, 2001 signed DonPeebles, dated 2001 and inscribed "Pier & Ocean No.2", acrylic on canvas, 1510mm x 2220mm in ink verso 1510mm x 2220mm Estimate $22,000 - $32,000


83 Gottfried Lindauer Portrait of Myra Lindauer Graham nee Partridge, Henry Partridge's Daughter oil on canvas 800mm x 600mm PROVENANCE Collection of the Partridge family. Henry Partridge was one of Gottfried Lindauer’s earliest clients and grew to be his most dedicated patron. Their professional relationship lasted more than forty years. Partridge is now best remembered as having amassed a collection of over seventy paintings by Lindauer, later known as The Partridge Collection. This work has been passed by descent from Henry Partridge to the present owner. Estimate $15,000 - $25,000


84 Gottfried Lindauer Portrait of Alan Lindauer Graham, Henry Partridge's Grandson oil on canvas signed G. Lindauer and dated 1916 in brushpoint lower right 655mm x 510mm PROVENANCE Collection of the Partridge family. This work has been passed by descent from Henry Partridge to the present owner. Estimate $12,000 - $18.000


85 James Robinson The Watcher acrylic on canvas, signed James Robinson, dated 2012 and inscribed “The Watcher”, (Muriwai Earthskin) in bruphpoint lower right; signed James Robinson, dated September 2012 and inscribed “The Watchers”, End of time now/ conscious contact, Muriwai Earthskin Residency in brushpoint on stretcher verso 1210mm x 1580mm REFERENCE Produced at the Earthskin Residency, Muriwai, 2012 Estimate $6,000 - $10,000 86 Miranda Parkes Bather acrylic on canvas signed Parkes, dated 2011 and inscribed ‘Bather’ in ink verso 320mm x 300mm x 200mm Estimate $2,000 - $3,000 87 Mervyn Williams Myth (Gold) acrylic on canvas signed Mervyn Williams, dated ‘92 and inscribed ‘Myth’ (Gold) in brushpoint verso; original Gow Langsford Gallery label affixed to stretcher verso 800mm x 650mm Estimate $4,000 - $6,000


CONDITIONS of sale for buyers 1. Bidding. The highest bidder shall be the purchaser subject to the auctioneer having the right to refuse the bid of any person. Should any dispute arise as to the bidding, the lot in dispute will be immediately put up for sale again at the preceding bid, or the auctioneer may declare the purchaser, which declaration shall be conclusive. No person shall advance less at a bid than the sum nominated by the auctioneer, and no bid may be retracted. 2. Reserves. All lots are sold subject to the right of the seller or her/his agent to impose a reserve. 3. Registration. Purchasers shall complete a bidding card before the sale giving their own correct name, address and telephone number. It is accepted by bidders that the supply of false information on a bidding card shall be interpreted as deliberate fraud. 4. Buyer’s Premium. The purchaser accepts that in addition to the hammer or selling price Webb’s will apply a buyer’s premium of 15% for the Important Paintings and Contemporary Art sale, (unless otherwise stated), together with GST on such premiums. 5. Payment. Payment for all items purchased is due on the day of sale immediately following completion of the sale. If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days. Payment is by cash, bank cheque or Eftpos. Personal and private cheques will be accepted but must be cleared before goods will be released. Credit cards are not accepted. 6. Lots sold as Viewed. All lots are sold as viewed and with all erros in description, faults and imperfections whether visible or not. Neither Webb’s nor its vendor are responsible for errors in description or for the genuineness or authenticity of any lot or for any fault or defect in it. No warranty whatsoever is made. Buyers proceed upon their own judgement. Buyers shall be deemed to have inspected the lots, or to have made enquiries to their complete satisfaction, prior to sale and by the act of bidding shall be deemed to be satisfied with the lots in all respects. 7. Webb’s Act as Agents. They have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason. 8. Collection. Purchases are to be taken away at the buyer’s expense immediately after the sale except where a cheque remains uncleared. If this is not done Webb’s will not be responsible if the lot is lost, stolen, damaged or destroyed. Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to removal of any lot. 9. Licences. Buyers who purchase an item which falls within the provisions of the Protected Objects Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webb’s a license under the appropriate Act. 10. Failure to make Payment. If a purchaser fails either to pay for or take away any lot, Webb’s shall without further notice to the purchaser, at its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies: A. To issue proceeding against the purchaser for damages for breach of contract. B. To rescind the sale of that or any other lot sold to the purchaser at

the same or any other auction. C. To resell the lot by public or private sale. Any deficiency resulting from such resale, after giving credit to the purchaser for any part payment, together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression ‘proceeds of sale’ shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction. D. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot. E. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities, to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale. F. To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due. G. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or its vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any monies remain unpaid under this contract. H. To apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of any thing whatsoever irrespective of any directive given in respect of, or restriction placed upon, such payment by the purchaser whether expressed or implied. I. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds. Where any lot purchased is held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit, the lot will be held by Webb’s as bailee for the vendor, risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase. In the event that a lot is lost, stolen, damaged or destroyed before title is transferred to the purchaser, the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot, but shall not be entitled to any compensation for any consequent losses howsoever arising. 11. Bidders deemed Principals. All bidders shall be held personally and solely liable for all obligations arising from any bid, including both ‘telephone’ and ‘absentee’ bids. Any person wishing to bid as agent for a third party must obtain written authority to do so from Webb’s prior to bidding. 12. ‘Subject Bids’. Where the highest bid is below the reserve and the auctioneer declares a sale to be ‘subject to vendor’s consent’ or words to that effect, the highest bid remains binding upon the bidder until the vendor accepts or rejects it. If the bid is accepted there is a contractual obligation upon the bidder to pay for the lot. 13. SALES POST AUCTION OR BY PRIVATE TREATY. The above conditions shall apply to all buyers of goods from Webb’s irrespective of the circumstances under which the sale is negotiated. 14. condition of Items. Condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on and should refer to clause six. Webb’s are pleased to provide intending buyers with condition reports on any lots.


INDEX OF ARTISTS Aberhart, Laurence Angus, Rita

1, 15 41, 43

Leek, Saskia Lindauer, Gottfried

Bambury, Stephen

44, 47

Cauchi, Ben Cotton, Shane

2 23, 45

Maddox, Allen McCahon, Colin McLeod, Andrew Mrkusich, Milan

Dashper, Julian de Lautour, Tony Fomison, Tony Frizzell, Dick Gascoigne, Rosalie Gimblett, Max Goldie, Charles Frederick Hammond, Bill Hanly, Pat Henderson, Derek Hight, Michael Hodgkins, Frances Hotere, Ralph Hughes, Sara Hurley, Gavin Kaan, Simon Knox, John Ward


11 3, 73 46, 67, 68, 77 22 70 14, 54, 76 40 48, 51 28 4 50 57 33, 49, 55, 63 18 5 62 26

7 83, 84 13 16, 27, 32, 37, 42, 53, 56 6, 59, 60 36, 61, 64, 69, 80

Parekowhai, Michael Parkes, Miranda Peebles, Don Pick, Seraphine

17 86 82 12

Reynolds, John Riley, Bill Robinson, Peter Robinson, James Roeth, Winston

8, 9, 10, 74, 75 71, 72 29, 30, 31, 34, 52 85 39

Smither, Michael Stichbury, Peter

58 24, 25

Walsh, John Walters, Gordon Warhol, Andy White, Robin Williams, Mervyn Woollaston, Toss

78 37 19 21 87 79

35, 20, 81, 65, 66,

Lot 54 Max Gimblett Transcending The Dust Of The World - After Shih Tao! Estimate $70,000 - $90,000

New Zealand’s Premier Auction House 18 Manukau Road PO Box 99 251 Newmarket, Auckland 1149 New Zealand P +649 524 6804 F +649 524 7048


Live Onsite Auction Sunday 9 December 2012, 11:00am Viewing 7- 8 December 9:00am – 4:00pm 5 Gabador Road, Mt Wellington, Auckland

After four years of local production, the heroic show that is SPARTACUS has come to its epic conclusion. Working with the very best creative talent the SPARTACUS film production team have produced a vast range of on-set props and dressings that are to be offered at no reserve on the 9th December at one of the studio's which were used to film SPARATCUS Blood & Sand, Gods of the Arena, Vengeance and coming soon in January 2013 War of the Damned Live Onsite Auction Sunday 9 December 11:00am Catalogue online by the 22nd of November 2012. Bid on line at or

Contact James Hogan E: P: 021 510 477


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